In my view “Brookline” must be called expressive, even “explosive” so to speak. But the longer one looks at it, two other aspects become important, which are, at first sight, pushed back by the dominance of color, which is supported by the fact that many lines from the basic line sketch became just edges of color shapes. But even in this reduced appearance, the line structure, its strict composition as the backbone of this image, presents more and more a massive counterweight for the “detonating” colors. A second aspect the image develops the longer it is viewed is a certain enigmatic narrative, calming down the appearance like freezing a motion, like a freeze frame in a way. Now the onlooker may start the film again and see.